KRK Systems, part of the Gibson family of brands, has taken permanent residency in the home studio of Dan Konopka, principal member, drummer, producer and remixer for GRAMMY® Award-winning group OK Go. Konopka relies on KRK monitors, subs and headphones to produce music with his band. Most recently, he has also implemented the gear into his workflow for projects with SoundBetter, the world’s leading music production marketplace, which helps musicians around the world connect with and hire top music pros to mix release-ready songs. With KRK’s new ROKIT G4 studio monitors, 12S powered subwoofer and KNS 8400 Headphones, Konopka feels more confident than ever in the quality of his mixes.

New technology often carries an overhead that complicates previously simple tasks. AoIP, for example, has many tangible benefits, but straightforward jobs such as extending the mic inputs of a sound desk to a stagebox or connecting an extra foldback speaker now require a laptop, software and precious extra time to remotely set routes and adjust the levels.

Leader LV5490, LV5350 and LV5333 test equipment formed the core signal monitoring resource deployed by Barcelona-based television production group Mediapro for its coverage of the recent UEFA Champions League Final in Madrid. Selected by UEFA as the host broadcaster, Mediapro fielded multiple OB vehicles, 42 cameras and more than 150 crew to capture the match for 4K and HD simulcasting. The project was accomplished in cooperation with system specialist and production services provider Mediaburst.

NUGEN Audio is pleased to present the newest updates to its VisLM loudness metering software at IBC 2019 (Pod F.P37). Long considered the industry standard for loudness metering, VisLM now offers a ‘Flag’ feature that builds upon the Alert functionality found in previous versions of the plug-in. This will allow users to navigate through True Peak and short-term/momentary loudness alerts, as well as manual flags for other points of interest. Included with the update is the latest maximum loudness range (LRA 18) for its Netflix preset that will benefit forward-thinking productions supplying content to the SVOD platform. The company is also rolling out navigable/visual alerts that further simplify operation.

The Royal Television Society Thames Valley Centre is to hold its Winter Ball and Awards on Friday 29th November, hosted at the prestigious Wokefield Estate, Mortimer, Reading.

This is an incredible opportunity to meet with leading media entrepreneurs and game-changers who are driving broadcasting to new levels of success, as well as being a fantastic occasion to help reward those who are making momentous advances to our thriving industry.

SOLID STATE LOGIC PRESENTS NEXT GENERATION BROADCAST AUDIO IN ACTION AT IBC 2019

Posted: 04/09/2019

IBC 2019 (Stand 8D.83). Following last year’s in-depth immersive release on their System T broadcast production platform, Solid State Logic (SSL) will be working with partners at IBC 2019 to present the realities of multi-format audio in action. With support for ATSC 3.0, Dolby Atmos, and MPEG-H, plus the recent Sennheiser AMBEO partnership, visitors can experience the benefits of NGA to enhance the broadcast experience.

Videosys Broadcast, a leading supplier of quality camera control systems, RF links and camera backs to outside broadcast providers is launching Stagebox at IBC2019, on stand 10.F21. Enabling the delivery of video, audio and data from A to B over fibre, Stagebox allows outside broadcast operators to multiplex all audio and video components (microphone, monitors, talkback panel) onto a single SMPTE fibre cable and power remotely.

The Brothers Lynch explain how they created the sinister atmospheric world for their new sci-fi short

In a post-apocalyptic world where humankind has emerged victorious in a war against artificial intelligent machines, a young girl dares to venture into the unknown. This is Zero, the new sci-fi short film from acclaimed British writer-director duo The Brothers Lynch which has premiered at the Tribeca Film Festival.

Shooting in ultra high definition and high dynamic range has become the preferred option for all television productions with a potentially long commercial life. The hir-ing charge and indeed the outright purchase cost of cameras of this standard are not significantly greater than those of high definition standard dynamic range models. With half the world's news reporters now able to capture UHD video on their mobile phones, why give the production crews anything less?

We are all familiar with statistics about the growth of the internet. Cisco’s latest report, for instance, says that global IP traffic is increasing at 26% a year, and will reach 4.8 zetabytes a year by 2022. The number of connected devices will be three times the world’s population by the same date.

I dare say that if you’re a keen reader of my column then you will be brushing up on your Dutch pronunciation and acclimatising yourself to mayonnaise on your chips rather than ketchup. If you’re really keen then you’ll also be making sure that you practise your Dutch jokes about the Flemish to ensure you don’t accidentally tell a Flemish joke about the Dutch at 2am on Sunday morning in a local bar somewhere near the red light district in Amsterdam.

These are uniquely challenging times for broadcasters and their technical teams. Not only are they having to negotiate the move to IP-based infrastructures and the introduction of new formats and techniques such as 4K and HDR, they are also having to generate more content than ever before to support OTT and web services as well as traditional linear broadcast.

It’s only taken 20 years and it seems that Remote Production is finally coming of age, but it now requires far more cameras than anyone envisaged back in the last century!

The move to remote production is one of the unstoppable trends of 2019 and moving into 2020. Our CamBall cameras pioneered remote working as early as 2003 with sport and wildlife programming using remote production for many years with incredible results.

One of my biggest concerns as an academic responsible for the education of hundreds of students is the ‘appropriateness’ of much of the technology we purchase and implement within the curriculum. The last few years have seen tremendous change in all sorts of technologies, and the broadcast industry is just one sector that has seen some significant leaps in innovation.

The use of KVM equipment has been essential to meet the evolving needs of the broadcast industry for many years. Over that time, many in the industry have recognised the importance of using IP-enabled KVM to break down technological barriers and enable real-time access to visuals wherever and whenever they’re needed. These components are vital parts in live production environments in particular.

Back in April 2019, the National Association of Broadcasters hosted the annual NAB show in Las Vegas where over 90,000 people from more than 160 countries came to see the latest broadcast technology from around the world. Honouring the highlights of the show were NAB’s 2019 Product of the Year awards, where the newly launched Chroma-Q Space Force onebytwo – a bright, tuneable white LED softlight with a high CRI, TLCI and TM-30 - picked up one of these prestigious awards in the lighting category.

There is long-established saying in the media business that, if something goes wrong, at least nobody dies. It is almost true unless you happen to be a TV producer suffering a cardiac arrest because your primary video feed has gone blank during a high-budget programme.

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